Led Zeppelin: Bring It On Home
Led Zeppelin, ‘Bring it On Home’
Led Zeppelin’s ‘Bring it on Home’ was released in 1969 as the somewhat monstrous concluding track of their album ‘Led Zeppelin 2’. Led Zeppelin are undoubtedly one of the most legendary and most famous rock bands in history; created by the former member of the yard birds Jimmy Page in 1968, the band have sold 111.5 million certified units in the US and over 200 million records worldwide. At the closing of this decade, a time when the prominent racial segregation was on the road to resolution, it has been disputed by rock fans young and old and through numerous court cases that certain material from Zeppelin’s work was plagiarised from black blues artists prior to the bands formation. ‘Bring it on Home’ is a …show more content…
perfect example of the issues at the crux of this on-going debate; the song encompasses an obvious closeness to Willie Dixon’s song of the same title, blending the blues roots with the typical traits of Zeppelin’s sound. Moreover, I wish to present why the song remains a strong representation of why and how Led Zeppelin are so influential.
Before analysing the controversy behind ‘Bring it on Home’, it would be appropriate to contemplate other examples of Zeppelin’s work which have undergone similar accusations of plagiarism in order to support the significance of the song I have chosen.
‘Whole Lotta Love’ for instance, has undeniable correlation to the Muddy Waters song ‘You Need Love’. Even the opening lyrics, Zeppelin’s opening lyrics: “You need coolin', baby, I'm not foolin' I'm gonna send ya back to schoolin’” are obviously hugely identifiable to the Muddy Waters lyrics: “I ain't foolin' you need schoolin' Baby you know you need coolin'”. This similarity between the two continues through the entirety of the song. Also on the album, we see the same story with “Lemon Song”, in which the first, second and fourth verses are undoubtedly lifted from Howlin’ Wolf’s ‘Killin’ Floor’ and ‘Moby Dick’ where the guitar riff driving the song is analogous to Bobby Parker’s song ‘Watch Your Step’ released in 1961. Led Zeppelin failed to credit these writers, and as a result these circumstances have been referred to as ‘an indelible blemish on the band's legacy’. In fact Rolling Stone ridiculed the album, accusing the band of ‘robbing authentic bluesman royalties’ and implied that ‘heavy white blues like theirs was best listened to in a stupor induced by mescaline’ (Steven Davis, Led Zeppelin Hammer of the Gods, p.100). ‘Bring it on Home’ epitomises these opposing forces in its obvious distinction between the almost too …show more content…
obvious plagiarism ironically mixed with Zeppelins unique and idiosyncratic sound.
The track opens with the cover of Sonny Boy Williams’ 1963 recording (written by Willie Dixon) of the song ‘Bring it on Home’, followed by an explosion into the classic ‘loud, raw, skilful, electric white blues’ (Steven Davis, Led Zeppelin Hammer of the Gods p.97) sound, entwined with Jimmy Page’s ever powerful guitar riffs and Robert Plant’s eccentric, distinctive and convoluted vocal parts which the band are still identified by today. The opening to the song, which undoubtedly is almost parallel in similarity to the Sonny Boy Williamson version, introduces the track with the typical black blues sound so influential to Zeppelins catalogue of music as a whole. This continuing suggestion of theft would perhaps be considered as trivialising the label given to them by NME as the ‘progenitors of heavy metal and hard rock’. (NME news) But if that is to be the case, then a large number of acclaimed, important and influential artists and song writers, would also have to be disregarded for their contribution to music of the present day. Elvis Presley, who ‘married blues to country, creating the 20th century's most popular form of music’ (Jeffery Glenn, ‘Led Zeppelin/Jimmy Page Plagiarism?’) owes his career to songs written from the imagination of others. The Beatles have been sued for supposed plagiarism. Bob Dylan, too, has been accused of borrowing and admits it openly. Even recently, from Henry Timrod (a 19th century poet who died in 1867) on his 2006 album ‘Modern Times’, but as he told Rolling Stone magazine, ‘It's called song writing, It has to do with melody and rhythm, and then after that anything goes. You make everything yours.’(BBC News, Entertainment and Arts) Johnny Cash, the Red Hot Chilli Peppers, Madonna and so many more pioneering and highly established writers and artists have all been accused of the same crime. The pressing question then, is whether this makes them any less significant and influential to music today?
Aside from the controversy and copyright arguments, ‘Bring it on Home’ is a criterion of the band’s work and a fantastic example of the influential stance Led Zeppelin hold on music today. Yes, this song starts with the lifted cover but it is what it transforms it in to that makes it a brilliant representation of the bands individuality. As Dave Grohl stated, ‘In 1969 and '70, there was some freaky shit going on, but Zeppelin was the freakiest’; the band were unique, like nothing else of their time. Grohl continues, ‘heavy metal would not exist without Led Zeppelin, and if it did, it would suck’ (Dave Grohl, ‘Led Zeppelin’). This song contains classic elements which illustrate the Zeppelin sound responsible for their true prestige; it embodies Page’s ever famous guitar riffs for which the group are so well known. Rolling Stone referred to Page as ‘the fire-slinging riffmaster’ which was undeniably a completely deserved title and is illustrated in “Bring it on Home” with utter supremacy. The motions and manners of Zeppelin’s sound can be heard prominently in music from The Black Crowes, John Mayer, The White Stripes, Kasabian, Oasis and numerous others in a wide selection of genres. Half a billion fans applied for tickets for their reunion gig in 2007; ‘The event was a magnet for celebrities and rock stars, including Pink Floyd's David Gilmour, Kate Moss, members of Oasis and Genesis, Steve Winwood, Priscilla and Lisa Marie Presley and Marilyn Manson’ (Billboard BETA) - thus proving the groups importance and the level of respect they still hold by musicians and writers today.
Undoubtedly, the debate regarding whether Led Zeppelin deserve such high praise as pioneers of rock and heavy metal will be one that is unresolved for future generations to come. But saying this, what I have presented is that the lasting supremacy of their creative writing, idiosyncratic guitar riffs, and unique and distinctive sound - all of which are neatly encapsulated in ‘Bring it on Home’ – will certainly not be quick to fade.
Bennett, Ray, Ed Christman, Tamara Conniff and Mark Sutherland.
(2011). Led Zeppelin Triumphs at London Reunion Show. Available: http://www.billboard.com/articles/news/1047094/led-zeppelin-triumphs-at-london- reunion-show. Last accessed 2013.
Davis, Stephen. Hammer of the Gods, Led Zeppelin unauthorized (2008). Pan Macmillan Publishers: pan books.
Glen, Jeffery, Led Zeppelin/ Jimmy Page Plagiarism (2006). Available: http://en.allexperts.com/q/Led-Zeppelin-501/f/Jimmy-Page-Plagiarism.htm. Last accessed 2013.
Grohl, Dave, Led Zeppelin (2013) http://www.rollingstone.com/music/lists/100-greatest- artists-of-all-time-19691231/led-zeppelin-20110419. Last accessed 2013
Lewes, Luke. Been Caught Stealing-A Brief History of Plagiarism Rock (2008). Available: http://www.nme.com/blog/index.php?blog=121&title=love_and_theft_a_brief_history_o f_plagia&more=1&c=1&tb=1&pb=1. Last accessed 5th mar 2013.
NME, Led Zeppelin Biography (2012). Available: http://www.nme.com/artists/led- zeppelin#reviews. Last accessed
2013.
Led Zeppelin’s ‘Bring it on Home’ was released in 1969 as the somewhat monstrous concluding track of their album ‘Led Zeppelin 2’. Led Zeppelin are undoubtedly one of the most legendary and most famous rock bands in history; created by the former member of the yard birds Jimmy Page in 1968, the band have sold 111.5 million certified units in the US and over 200 million records worldwide. At the closing of this decade, a time when the prominent racial segregation was on the road to resolution, it has been disputed by rock fans young and old and through numerous court cases that certain material from Zeppelin’s work was plagiarised from black blues artists prior to the bands formation. ‘Bring it on Home’ is a …show more content…
perfect example of the issues at the crux of this on-going debate; the song encompasses an obvious closeness to Willie Dixon’s song of the same title, blending the blues roots with the typical traits of Zeppelin’s sound. Moreover, I wish to present why the song remains a strong representation of why and how Led Zeppelin are so influential.
Before analysing the controversy behind ‘Bring it on Home’, it would be appropriate to contemplate other examples of Zeppelin’s work which have undergone similar accusations of plagiarism in order to support the significance of the song I have chosen.
‘Whole Lotta Love’ for instance, has undeniable correlation to the Muddy Waters song ‘You Need Love’. Even the opening lyrics, Zeppelin’s opening lyrics: “You need coolin', baby, I'm not foolin' I'm gonna send ya back to schoolin’” are obviously hugely identifiable to the Muddy Waters lyrics: “I ain't foolin' you need schoolin' Baby you know you need coolin'”. This similarity between the two continues through the entirety of the song. Also on the album, we see the same story with “Lemon Song”, in which the first, second and fourth verses are undoubtedly lifted from Howlin’ Wolf’s ‘Killin’ Floor’ and ‘Moby Dick’ where the guitar riff driving the song is analogous to Bobby Parker’s song ‘Watch Your Step’ released in 1961. Led Zeppelin failed to credit these writers, and as a result these circumstances have been referred to as ‘an indelible blemish on the band's legacy’. In fact Rolling Stone ridiculed the album, accusing the band of ‘robbing authentic bluesman royalties’ and implied that ‘heavy white blues like theirs was best listened to in a stupor induced by mescaline’ (Steven Davis, Led Zeppelin Hammer of the Gods, p.100). ‘Bring it on Home’ epitomises these opposing forces in its obvious distinction between the almost too …show more content…
obvious plagiarism ironically mixed with Zeppelins unique and idiosyncratic sound.
The track opens with the cover of Sonny Boy Williams’ 1963 recording (written by Willie Dixon) of the song ‘Bring it on Home’, followed by an explosion into the classic ‘loud, raw, skilful, electric white blues’ (Steven Davis, Led Zeppelin Hammer of the Gods p.97) sound, entwined with Jimmy Page’s ever powerful guitar riffs and Robert Plant’s eccentric, distinctive and convoluted vocal parts which the band are still identified by today. The opening to the song, which undoubtedly is almost parallel in similarity to the Sonny Boy Williamson version, introduces the track with the typical black blues sound so influential to Zeppelins catalogue of music as a whole. This continuing suggestion of theft would perhaps be considered as trivialising the label given to them by NME as the ‘progenitors of heavy metal and hard rock’. (NME news) But if that is to be the case, then a large number of acclaimed, important and influential artists and song writers, would also have to be disregarded for their contribution to music of the present day. Elvis Presley, who ‘married blues to country, creating the 20th century's most popular form of music’ (Jeffery Glenn, ‘Led Zeppelin/Jimmy Page Plagiarism?’) owes his career to songs written from the imagination of others. The Beatles have been sued for supposed plagiarism. Bob Dylan, too, has been accused of borrowing and admits it openly. Even recently, from Henry Timrod (a 19th century poet who died in 1867) on his 2006 album ‘Modern Times’, but as he told Rolling Stone magazine, ‘It's called song writing, It has to do with melody and rhythm, and then after that anything goes. You make everything yours.’(BBC News, Entertainment and Arts) Johnny Cash, the Red Hot Chilli Peppers, Madonna and so many more pioneering and highly established writers and artists have all been accused of the same crime. The pressing question then, is whether this makes them any less significant and influential to music today?
Aside from the controversy and copyright arguments, ‘Bring it on Home’ is a criterion of the band’s work and a fantastic example of the influential stance Led Zeppelin hold on music today. Yes, this song starts with the lifted cover but it is what it transforms it in to that makes it a brilliant representation of the bands individuality. As Dave Grohl stated, ‘In 1969 and '70, there was some freaky shit going on, but Zeppelin was the freakiest’; the band were unique, like nothing else of their time. Grohl continues, ‘heavy metal would not exist without Led Zeppelin, and if it did, it would suck’ (Dave Grohl, ‘Led Zeppelin’). This song contains classic elements which illustrate the Zeppelin sound responsible for their true prestige; it embodies Page’s ever famous guitar riffs for which the group are so well known. Rolling Stone referred to Page as ‘the fire-slinging riffmaster’ which was undeniably a completely deserved title and is illustrated in “Bring it on Home” with utter supremacy. The motions and manners of Zeppelin’s sound can be heard prominently in music from The Black Crowes, John Mayer, The White Stripes, Kasabian, Oasis and numerous others in a wide selection of genres. Half a billion fans applied for tickets for their reunion gig in 2007; ‘The event was a magnet for celebrities and rock stars, including Pink Floyd's David Gilmour, Kate Moss, members of Oasis and Genesis, Steve Winwood, Priscilla and Lisa Marie Presley and Marilyn Manson’ (Billboard BETA) - thus proving the groups importance and the level of respect they still hold by musicians and writers today.
Undoubtedly, the debate regarding whether Led Zeppelin deserve such high praise as pioneers of rock and heavy metal will be one that is unresolved for future generations to come. But saying this, what I have presented is that the lasting supremacy of their creative writing, idiosyncratic guitar riffs, and unique and distinctive sound - all of which are neatly encapsulated in ‘Bring it on Home’ – will certainly not be quick to fade.
Bennett, Ray, Ed Christman, Tamara Conniff and Mark Sutherland.
(2011). Led Zeppelin Triumphs at London Reunion Show. Available: http://www.billboard.com/articles/news/1047094/led-zeppelin-triumphs-at-london- reunion-show. Last accessed 2013.
Davis, Stephen. Hammer of the Gods, Led Zeppelin unauthorized (2008). Pan Macmillan Publishers: pan books.
Glen, Jeffery, Led Zeppelin/ Jimmy Page Plagiarism (2006). Available: http://en.allexperts.com/q/Led-Zeppelin-501/f/Jimmy-Page-Plagiarism.htm. Last accessed 2013.
Grohl, Dave, Led Zeppelin (2013) http://www.rollingstone.com/music/lists/100-greatest- artists-of-all-time-19691231/led-zeppelin-20110419. Last accessed 2013
Lewes, Luke. Been Caught Stealing-A Brief History of Plagiarism Rock (2008). Available: http://www.nme.com/blog/index.php?blog=121&title=love_and_theft_a_brief_history_o f_plagia&more=1&c=1&tb=1&pb=1. Last accessed 5th mar 2013.
NME, Led Zeppelin Biography (2012). Available: http://www.nme.com/artists/led- zeppelin#reviews. Last accessed
2013.